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Music Sermon: Why Ya’ll Owe Queen Latifah More Credit

Queen Latifah was one of the first crossover female rap artists, who broke barriers and set standards for not just women in hip-hop, but black women in music to follow.

There’s an abundance of “queens” in the game right now. Yes, we’re all queens and wear a personal crown, I know. That aside, “Queen” is sometimes used a little loosely for artists and entertainers. I’m not going to get into whose crown is real and whose is possibly from Party City, but there’s a sovereign monarch y’all have been neglecting. Long before fan armies and hives were out here staging coronations willy-nilly, there was Queen Latifah.

An eight-year-old Dana Owens was scrolling through a book of Arabic names with her cousin when she saw the name “Latifah,” which means delicate and sensitive, and promptly decided it was for her. When she started rapping in high school, she wanted a title fitting of the name. Latifah told CNN’s Larry King, “I didn’t want to be emcee Latifah or, you know, all these different monikers that you could have put on, but I…thought, Queen, you know my mom raised me to be a queen. Queen. Queen Latifah.”

For the last 20 years of her 30-year career, however, Latifah’s been known primarily as an actress. Much like her industry contemporary Will Smith, the rap career feels long ago and far away. There’s even a segment of fans who are more familiar with her as a singer than as a rapper. In honor of Women’s History Month (and Latifah's recent investment into a housing initiative in Newark, New Jersey), this is VIBE’s Queen Latifah refresher course; a reminder that she was one of the first crossover female rap artists, who broke barriers and set standards for not just women in hip-hop, but black women in music to follow.

Wanna talk about consciousness? Latifah did that.
Singing and rapping? Yup, the first.
Feminism? From the door.
Owning her own entertainment company and label? Did it early.
Acting? Did it. Killed it.
Creating, producing and owning content? Mmhmm.
Brand partnerships? Check.
Beauty and wellness? Yup.
Body positivity and promoting self-esteem? Hello, “Queen.”
There ain’t a door she wasn’t the first or one of the first women in hip-hop to walk through.

The Princess of the Posse

She started as a member of New Jersey’s Flavor Unit, led by Mark the 45 King, a producer now best known for Jay-Z’s “Hard Knock Life,” Eminem’s “Stan,” and a cut called “The 900 Number,” Yo! MTV Raps’ Ed Lover’s signature song. The Flavor Unit was a crew of emcees and DJs similar to the Marley Marl’s Juice Crew, and Latifah was the stand out star.

Mark passed her demo to influencer-of-all-things-in-early-hip-hop, Fab 5 Freddy, who in turn passed it to signer-of-mad-acts-in-early-hip-hop Dantè Ross. Ross immediately gave her a deal with hip-hop and dance hub Tommy Boy Records.

Repping For The Ancestors

Queen Latifah took her chosen name seriously, and her entire brand reflected her title. In the same 1989 Yo! MTV Raps episode above, Freddy went shopping with Latifah, and she explained her style and homage. “By wearing African clothes, African accessories, not only am I supporting my African brothers and sisters who have these businesses, but it brings me closer to my ancestors…I just feel inner power.”
She named her backup dancers the Safari Sisters, and they sported the ancestral garb with a touch of military flair. They were in charge and ready to battle anyone who tried to test.

Latifah blended reggae, Jersey house music, jazz and other elements into her music, effortlessly switched up rhyme and flow styles, and shifted between rapping and singing, which became a trademark throughout her career. And she kicked global knowledge. Her Queendom was open to all.

Her music was inclusive, but she was also clear that she was talking to the black community first. The conversations about who can enjoy the culture have been ongoing for hip-hop’s entire existence. In one of her earliest on camera interviews, Latifah discussed who hip-hop is for, coincidentally with 3rd Bass’s DJ Serch, a white MC. “By bringing knowledge to our people, we’re bringing knowledge to every other people and letting them know how we live. That’s when (music) becomes universal. That’s where the teaching comes in. [The message is] directed to the black culture, but it’s something for everyone to learn. We have to help us grow first, and then and only then can we associate with every other race.”

Hip-hop was at the beginning of the conscious movement. A mix of Black Nationalism, Islam and Afrocentrism permeated the culture. Rappers started to address blackness, politics and social conditions in their lyrics, and gold chains and Dapper Dan fits were supplanted with African medallions, beads, and prints. Latifah’s other rap collective, The Native Tongues, was at the forefront of the shift. The Jungle Brothers, De La Soul, A Tribe Called Quest, Black Sheep, Monie Love, and Latifah rebranded hip-hop, used it to celebrate and uplift culture, and made it more eclectic and relatable for kids that didn’t relate to street stories or machismo rap.

Accidental Feminist

Along with her regal demeanor, Latifah always had the spirit and energy of an elder, a sage. Media outlets called her “the Aretha Franklin of rap” when she debuted, a comparison not only because of her voluptuous build with round baby face, but because of the power and declaration in her voice and message. Over time, she earned the moniker First Lady of Hip-Hop. The Native Tongues called her “Mama Zulu” (a reference to the Universal Zulu Nation collective) even though she was still a teenager.

Latifah always represented equality and power for women. She and peers MC Lyte, Roxanne Shantè, Ms. Melodie and Salt-N-Pepa were fighting for position and respect. Hip-hop is born of the streets; it’s about boasting and braggadocio. There’s a reason why, 30 years after Lyte was the first female rapper to release a full-length album, the field still isn’t level. But from the moment the ladies hit the scene late ‘80s, stepping into a landscape dominated by LL Cool J, Public Enemy and NWA, Latifah and her peers came to play.

Like her self-ascribed Queen descriptor, Latifah’s albums announced the power and strength of black women with titles like All Hail the Queen, Nature of a Sista’ and Black Reign. She rapped about agency, visibility, confidence, self-reliance, and about not letting men play women short. I consider All Hail the Queen is the definitive Latifah album, and “Ladies First” is her definitive song.

Latifah and Monie Love were fast friends from the moment they met in 1987, and Latifah pitched the idea for the perfect collaboration. “She said she wanted to do something that was uplifting for women because it's a male-dominated industry and hip-hop is full of male acts. [Women rappers] do exist but we're few and far between.” Monie told Billboard. "She said, 'I want to do something that's going to empower women and shake the guys up a little bit. I want to call it ‘Ladies First’ because when a guy and a woman walk through the door, it's supposed to be ladies first.' So we built the song around that idea…We had no idea it was going to go down in history as this great woman empowerment song in hip-hop.”

The track was also a milestone moment for women in hip-hop. It was the first collaborative track with two female MCs who weren’t part of a group – and without a man on the joint hogging the light. The vision was originally for three; Latifah asked Lyte to join, but people convinced her it wasn’t a smart move, so she declined. It’s a decision Lyte still regrets. (Me too, because that would have been fire!) Latifah and Monie brought high spirited, high energy banter back and forth as they hyped each other up. Imagine, “Yes, BARS!!” but over a beat.

“Some think that we can't flow (can't flow)
Stereotypes, they got to go (got to go)
I'm a mess around and flip the scene into reverse
(With what?) With a little touch of ‘Ladies First’”

Latifah didn’t realize her ideology and message aligned with feminism. “(‘Ladies First’) is to tell ladies as well as men that we’re coming up, we’re standing proud and strong, and we won’t be impeded by anything,” she said in an early interview. “It’s not a feminist-type thing, ‘cause I’d never call myself a feminist. It’s just telling (women) they have to have more respect for themselves in an age where they are so exploited.” Okay, so feminism with a dash of fauxtep in the beginning. But still feminism. She became the rap mama you don’t want to show out around because you know she’s going to be disappointed (you could get loose with your rap aunties Salt-n-Pepa, though).

As hip-hop grew, the cultural misogyny grew with it. The Queen continued to serve in a mother/big sister role even to the artists in Flavor Unit, which she was then leading. She had a lyrical come-to-Jesus-meeting for black men and women about name calling, street harassment, and a lack of mutual respect. If Latifah is hip-hop’s Aretha, “U.N.I.T.Y” is her “Respect.”

The anthem is still her biggest single to date, and her signature song (along with “Ladies First”). It won the Grammy for Best Rap Solo Performance in 1995, right behind Lyte’s win for “Ruffneck” in 1994.

On the few occasions opportunity presented to gather a master class of female rappers, the Queen was always on the short list.

The Vanguard of Hip-Hop In Hollywood

Queen Latifah was one of the first rappers, along with Will Smith, Ice T and Ice Cube, to make a successful leap to the screen. In ‘90, she began landing guest spots and small roles in Juice, The Fresh Prince of Bel Air and Jungle Fever. She was good, easy, natural. But that was due in part to the characters falling on a Queen Latifah spectrum, not that far removed from her artist persona. Just tweaked a little.

When Living Single debuted in 1993, Latifah the rapper started moving aside for Latifah the actress. The ensemble comedy about young, upwardly mobile black friends in Brooklyn was a smash hit, and part of a new era in TV programming targeting the hip-hop generation. No-nonsense but loveable Khadijah James showcased Latifah’s ease and comedic timing.

Like her smaller roles, though, it wasn’t a stretch to imagine Khadajah as the woman Latifah would have been if she’d pursued journalism instead of rapping. Living Single was so successful (it inspired one of the defining mainstream sitcoms of the decade, Friends), Latifah was at risk of losing her rap cred. Hip-hop was still a couple of years away from celebrating and embracing crossover success. With her second album, she addressed anyone who had doubts.

Her cameo looks plus the starring role in a hit series solidified the Queen as a rapper who could also act. Then, she went to an alternative universe where the Living Single crew decided to rob banks: the all-women caper movie Set It Off. From that moment, she was an actress, who also rapped. The brash, gangsta Cleo was unlike anything we’d seen Latifah embody. Not in her music, not in her acting, and not in her personal life as the sister and daughter of police officers. Of no small consequence, Cleo was gay. “Gay, gay, gay” as Latifah herself described. On-camera, not simply implied.

“There’s a lot of stuff people will question about my character,” she told the LA Times around the movie’s release. “I needed to be somebody else to show the world that I had this gift – something I can’t do if I play Queen Latifah roles all of the time. I wanted to make a statement with a character who’s really quite opposite of who I really am, and establish a different voice.”

After Set It Off, there were no more small roles for the Queen. In her career to date, Latifah has starred in more than 30 feature films, including her Oscar-nominated turn as Mama Morton in Chicago - the only female rapper to be nominated in an acting or non-acting category. In addition to starring in Living Single, her Flavor Unit Entertainment has also produced multiple TV shows, she’s starred in and co-produced critically acclaimed TV movies including HBO’s Bessie (for which she won a SAG award), and hosted a daytime TV show. Over 20 years after Living Single and Set It Off, Latifah proved she’s also still relatable as the around-the-way homegirl with the 2017 box office phenomenon Girl’s Trip.

Multimedia Mogul

A few years into her career, Latifah began an evolution from rapper to business (not a “business woman” but a “business”…you know the rest). After Mark the 45 King developed a serious drug habit that threatened Flavor Unit, Latifah and partner Shakim Compere took over the brand. “She was the one who became the most successful. She had the finances to incorporate the name and to build a brand around it,” former crew member Lakim Shabazz explained to Red Bull Music Academy. “We sat down as a unit and discussed this, and everyone came to the agreement that it was okay for her to do that. So she incorporated the name and they got Flavor Unit Management, and eventually they built the label and the movie company.”

Flavor Unit Management continued to represent some of the original crew like “Gangsta B*tch” rapper Apache, took on Naughty by Nature, and at various points managed OutKast, LL Cool J, Monica, Faith Evans, Total, SWV, Groove Theory, Monifah, Gina Thompson, Donell Jones and Zhané. In between her second and third albums, Latifah left Tommy Boy for Motown Records and her own Flavor Unit Records imprint. By 1993, she was the head of her own management company and label. In 1995, they branched into film and television production.

Flavor Unit Entertainment has produced several of Latiah’s film vehicles including Beauty Shop, Just Wright, Last Holiday and Bessie; and TV shows including VH1’s Single Ladies (which I’m not ashamed to say I miss). The company had brokered content deals with Centric/BETHer and Netflix in recent years for new projects. Latifah’s busy.

The Queen has been an example for entertainers-turned entrepreneurs. MC Lyte celebrated her hustle and acumen in an open letter for Billboard, “My sister, the Queen, has single-handedly changed the way every female MC looks at their business and perhaps more importantly, has no doubt changed the way the world views female MCs and their business potential.”

All That Jazz

With success comes freedom to explore and push boundaries. Latifah sang at church and at school before she started rapping, and once her career was secure, she allowed herself room to be a vocalist. She started with her acting roles, first as a jazz singer in the 1998 movie Live Out Loud.

It’s worth noting that “Lush Life” is not an easy song to sing. Sinatra left it off an album after finding it too difficult. Latifah isn’t just a hold a melody singer. She’s a forreal singer.

Four years later, she dived head first into a full-out musical playing Mama. I mentioned she was nominated for an Oscar, right?

In 2004, she released The Dana Owens Album, a collection of jazz and soul standards. The album was a fair commercial success; it cracked the top 20 of the Billboard Top 200 and almost hit the top 10 of the R&B albums chart. It also garnered a Grammy Nomination for Best Jazz Vocal. She stuck with jazz for her following album, 2007’s Travelin’ Light. This time, the LP spent three weeks at No. 1 on the Billboard Jazz albums chart and garnered an additional Grammy nomination, for Best Traditional Pop Vocal (which is the same category Tony Bennett wins pretty much annually).

If you go see Latifah perform today, just know there’s gonna be a jazz set. Come like 30 minutes late if you’re just trying to see Queen Latifah and not Dana Owens.

I can’t think of any other hip-hop artist who completely switched up genres. This isn’t even in the same vein as Lauryn being an R&B singer. This is like Deion Sanders and Bo Jackson playing two fundamentally different sports on a professional level.

Easy, Breezy, Beautiful Cover Queen

Latifah continued to prove her versatility by becoming a spokesperson for cosmetic giant CoverGirl in 2001, laying a foundation for brand ambassadors Janelle Monàe and Issa Rae to come later. In 2006, she became the brand’s first spokesperson to create their own line of products, launching the Queen Collection for women of color.

For years, the mainstream beauty industry has ignored the needs of darker-hued women, enough so that the array of shades available in Rihanna’s Fenty line was disruptive - in 2017. Latifah was proud of her representation as a CoverGirl, then an encounter with a fan convinced her the line was necessary. “The woman came up to me and was like, ‘I’m so happy for you and CoverGirl. I love that, but I wish y'all made a shade in my complexion.’ When she said that, it didn’t go past me, it stuck with me,” she told Essence. “I [thought], ‘okay, let’s go make a shade in your complexion’. I thought why am I CoverGirl if we can’t get our different shades?”

The Queen Collection is still one of CoverGirl’s best-selling lines, and one of the most popular makeup lines for women of color.

She may have done away with her trademark crown hat - she said people made too much of it, and anyone who’s been “Peace, Queen”ed excessively can probably relate – but Latifah has never been dethroned. She has consistently checked boxes and hit new benchmarks since her career began, although she’s said that wasn’t her goal.

“The goal was just to make a record, and then the goal was to do a TV show,” Latifah told Ebony magazine in 2007, “and then the goal was to make movies, and then to produce movies and produce records.” Whether intentional, guided by grace, or just by luck plus perseverance, however, Dana Owens has become one of the biggest stars not just in music, but period. She is universally respected and loved. The Queen still reigns, and we are merely her subjects.

#MusicSermon is a weekly series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

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P Diddy promotes his new Diddy Dirty Money single 'Coming Home' and his headphones DiddyBeats at HMV, Oxford Street on January 20, 2011 in London, England.
Photo by Matt Kent/WireImage

'The Last Train To Paris' Turns 10: Revisit Diddy's Aug./Sept. 2010 VIBE Cover Story

YOU EVER WATCH a control freak mellow out? It’s fascinating. When said micromanager is Sean “Puffy” Combs, it’s an enlightening ordeal altogether. Sitting at trendy Asian eatery Philippe Chow in New York City, two days before LeBron James announces that he’s taking his show to South Beach, Combs has talking points: impact and legacy. “This ain’t a regular run,” says Combs of his two-decade laundry list of accomplishments. “I’m saying that in the most humble way possible. I’m me and I’m seeing it. Most times the impact of what you do you don’t even live to see it.”

He’s the only patron seated for the evening, lounging at a table that comfortably seats eight. This is clearly a Sean John zone. His voice remains even, but the arrogance skyrockets. “It trickles over into sports. It goes into the way the free agent negotiations are going. [Athletes] have that belief. But that level of confidence as Black businessmen wasn’t really there. Unforgivable swagger. That shit wasn’t there.”

Translation: Sean believes that his ambition has been infectious. In his “humble” opinion, his drive has taught the have-nots that not only can they have, but they can be gluttonous and acquire wealth rather than riches. Will it ruin his day if people don’t agree? Not really. But he’d still like the legacy to be accurately documented. His reactionary reflexes have given way to him thinking long term, which could be why he’s unfazed by trivial shots like 50 Cent’s claims of having nude pictures of his artist Cassie. He’s more interested in guiding careers—Rick Ross, Red Cafe and Dirty Money, among them. And really, he’d like to do square biz and have your kids’ kids respect him like his contemporaries admire Warren Buffet. That would truly be money in the bank. In the meantime, he wants to mellow with a plate of chicken satay and talk Diddy legacy.

VIBE: You have said that rap’s heavyweight class consisted of Jay-Z, Kanye West, Lil Wayne and Drake. Do you still believe that?

Diddy: Definitely. I feel like Drake is somebody that entered professionally in the heavyweight division. He didn’t come in as a middleweight, he didn’t come in as a light heavyweight, he came in as a heavyweight. He’s gonna be a force to be reckoned with for a while. He is the definition of a new age musical rapper . . . going forward a lot of rap artists are going to have [singing and rapping] in their repertoire.

What’s the ranking in that heavyweight division?

Jay, Kanye, Wayne, and Drake.

Jay still No. 1?

Hands down as far as worldwide impact and due to this last album [The Blueprint 3]. He’s moved up in the rankings.

People don’t realize that you two are friends and not just industry acquaintances.

Over the years as we’ve grown, Jay and I have needed each other. We’ve needed to be able to pick up the phone and call somebody that can understand what each other was going through. We needed each other to motivate each other; we needed each other to push each other. We needed each other to support each other and also to challenge each other. He’s definitely been a great friend to me. There’s never been anything that I’ve asked him to do or he’s asked me to do that we really haven’t done for each other.

Give an example of when you had to pick up the phone and call Jay for assistance.

I wanted to do something game-changing with Sean John. And I just picked his brain. I did [a fashion line] before him but I think that business-wise he did a lot of things better than me. He picked the right time to get out and get his check, to sell his company. We sat on the phone and talked about itŃput our egos in our pockets. I didn’t see Sean John versus Roc-A-Wear. I just saw that my man over here is doing it [and I had] a couple of offers for Sean John. It was a beautiful conversation, ‘cause we’re sitting down at this restaurant and we’re talking about apparel. We’re not talking about music. It was a beautiful moment. Two quarter-of-a-billion dollar companies—just getting advice from your competitor. It was something that you heard rich White boys do.

Dr. Dre said that the last beat that floored him was “All About the Benjamins.” How does that make you feel?

It’s humbling. I was in the studio with Dre the other day. He started working on a record for me. Watching him as a producer is watching greatness. We had a lot of similar traits. It was like looking in the mirror. He would ask questions like, “How you feel about this?” People don’t really understand true producers want to know how you feel about things. We are some of the most observant people on the planet.

You’re a lot more into the music now than the last time we spoke.

I was waiting to get a lot of inspiration from the outside and it just wasn’t coming. And I’m not knocking anyone’s hustle that’s out there. I just come from musical history that musically people gave more of themselves . . . I was able to go back and listen to all the great records that I made. I ain’t do it on purpose. Like sometimes I’d be in a club and the DJ was just throwing tributes and would go deep in the crates. I would be like, “Damn, I forgot that I made that one.” It just gave me a deep connection and another level of confidence for me to do me.

Are you feeling more comfortable writing on your own?

Yeah. I learned a lot more. I feel a lot more confident and free. On this album, I wrote like maybe two or three records by myself. But I still like writing with somebody. It helps me. Not using it as a crutch, but I get better results from co-writing; having my own feelings and thoughts, and, you know, getting some help with it. I love the feeling of collaboration, community in the studio. I don’t like being the mad scientist and being in the room by myself.

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Desus & Mero Bless A Bronx Bodega With A Year's Worth of Rent

You know them as the hosts of the hit Showtime series Desus & Mero, aka "the greatest show in late-night history, featuring only illustrious guests." These days you might catch them chatting with President Obama, but  Bronx natives Desus Nice and The Kid Mero have never lost touch with their roots as the Bodega Boys.

"On our first podcast me and Mero used to have to ride the train back afterward," recalls Desus. "And basically our conversation on the train sounded exactly like the podcast. And somebody was like, 'Yo, they sound like two guys you hear in the bodega.' Which was true, because when you hear guys in the bodega, they talk very passionately about things. They may not have all the facts, but they're talking with their hearts."

"Their confidence is strong!" adds Mero with a laugh.

"That's just us," says Desus. "We're raised in bodegas. Probably 90 percent of the food we grew up eating was either our mother's cooking or chopped cheese sandwiches."

"Facts," Mero confirms.

Ever since the pandemic hit, New York City's community bodegas have served as a lifeline by providing New Yorkers with daily necessities, especially in neighborhoods where door-to-door gourmet food delivery is not an option. But staying open hasn't been easy—the daily risks of doing business under threat from a deadly virus—not to mention a spike in robberies and violence—has made running a bodega very challenging, to say the least. But day in day out, in good times and bad, they find a way to keep their doors open.

"If your block is the solar system, the bodega is the sun," says Mero. "The hood orbits the bodega."

So when the makers of Pepsi cola decided to give back on the bodega owners who provide life-giving sustenance and ice-cold soda to NYC's five boroughs, they reached out to the Bodega Boys as their official goodwill ambassadors. Today Desus & Mero appear in a short film called The Bodega Giveback, which highlights the way one Bronx bodega overcame extreme hardship—and the way Pepsi is helping them keep going after 2020 comes to an end.

For Juan Valerio and his son Jefferson, the proprietors of JJN Corp Deli & Grocery in the Bronx, 2020 has been a horrible year. Juan still remembers when he came to America with his father in 1990. "To buy a bodega at that time was well over $100,000," Juan recalls in the short film, which you can watch above. "It was a dream that seemed unreachable. I never thought I would achieve it. And now this is what I do. My whole life is here."

Then in April 2020, tragedy struck when Juan's father lost his life to COVID 19. For the first time in three decades, the bodega had to close its doors down briefly. "It’s something very powerful to lose what you love the most in a split second," Juan recalls with emotion as his son comforts him with a hug. "Life goes on. And I decided to come back because he always taught me to work. To stay closed was disrespectful to him."

"He had to shut down for a little bit," says Desus. "But then he reopened cause the community needed him. Cause the lockdown a lot of stores closed down. And in the Bronx, you can't really get stuff delivered. And he's the hub. We heard stories of what he did, so we were like, how can we give back to him? Shout out to Pepsi with the Bodega Giveback. And just giving him a year's rent—that's the most amazing thing you can give a bodega owner. Shout out to Juan and his son. The look on their face when they really get it—you see the appreciation."

"It really hit home," said Mero. "Cause it's like, we're children of immigrants. So that could have been us—if we didn't get seen by the right people and put in the right positions, we coulda been workin' alongside our dad at a bodega. And then watchin' your grandfather pass away and then comin' back because you know how important you are to the community. Like, that's really selfless. It's just a dope story. And those stories occur all over the place, it's just people don't see them. Cause they don't get exposed on a national level. But a brand like Pepsi can put that on a national stage and be like,  "Yo, look—this is a mom and pop establishment for real. And these are the small businesses that you supposed to be supporting."

The release of The Bodega Giveback kicks off a larger holiday giveback from Pepsi this season that includes cash gifts to bodega owners and consumers across NYC's five boroughs.  “Pepsi has so many longstanding bodega partners in New York City,” said Umi Patel, CMO of North Division, PepsiCo Beverages North America. “They are not only pillars of the community, but they have gone above and beyond to take care of their loyal customers during the hardships of the COVID-19 pandemic. They have worked around the clock to stay open, filling shelves to ensure their customers, friends, and family have the essentials they need to stay home and stay safe. They have even shifted their businesses to meet the needs of the community, offering new delivery options, adding crucial items like masks and gloves, and more, all while dealing with their own personal challenges of the pandemic. We are proud to do our part in giving back to these unsung heroes.”

From now until December 20, Pepsi will also be surprising customers at local bodegas across the five boroughs by gifting pre-paid credit cards of up to $100.00 per customer.

As Juan says in the film, "one hand washes the other, and with both, we wash our face."

Check out our full convo with Desus & Mero above and the short film, The Bodega Giveback.

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Courtesy of Level.com

Level Announces Their 'Best Man 2020 Awards' Featuring Entertainment Elite to Everyday Kings

It is a hard feat for media brands to survive the content landscape these days. To pull off the incredible undertaking of informing an audience as a new publication in the digital space is damn near impossible, yet the team at Medium's Level has done just that. To celebrate making their mark as a one-stop information shop for black men with their one-year anniversary this week, the team of bright and witty editors has launched their first annual Best Man Awards 2020.

The plan to honor the brand that started in December of 2019, focused on the interests of African-American males, has expanded into encompassing the efforts of a few good men during this mess of a year that is 2020. In doing so, those that broke through barriers of personal pain, new business frontiers, and support of others are highlighted and given the rightful pedestals to gain well-deserved props.

Of the 12 awards, esteemed gents like Swizz Beatz, Timbaland, and D-Nice are saluted as Quarantine Kings for their Verzuz and Club Quarantine (respectively) social media music creations that entertained the masses during the dogged days of our universal shut-down. There is also a heroic soul of a man who protected a black woman and her family from the surrounding presence of racist neighbors on his own time and dime. They have an award for Father of the Year, where former NBA all-star and champion, Dwyane Wade shines as a glowing example of understanding and ushering in new ways of parenting in today's society.

With the awards being a noble move towards giving Black men some much-needed praise in 2020, Level made sure to round up the last 365 days with themes on "The State of Black and Brown Men" as well. Essays that cover the realms of political ideology, coping with covid among Blacks health care workers,  how Black men fell short of protecting Black women, and exploring what Black men see when they look in the mirror (a piece that is a user-generated content driver/audience-led convo). All hard topics that need to be detailed, yet are rarely in a space for deep-dive convo.

Helmed by former VIBE editor-in-chief, Jermaine Hall, Level's editors explain their thoughts on the special coverage and celebration of their one year old brand:

“With the Best Man Awards, we wanted to lean into people who are doing incredible things to support society and publicly thank them. Anthony Herron, Jr is a hero. He stepped up to protect someone he didn’t know because, as he saw it, harassment is unacceptable. LEVEL wanted to make sure he received a nod for his heroics. But there are also several celebrities who are doing things outside of their jobs. D-Nice, Swizz, and Timbaland helped us cope through music. And it wasn’t a paid gig for any of them. They responded because people needed help healing so they provided care. That’s a strong attribute of the LEVEL man. It’s certainly is the definition of men being their best selves."

Click here to read about these individuals and learn more about the Best Man Awards 2020. Excelsior to Level.

 

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